Week 12:

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This week we basically needed to showcase something and backtrack to a piece that worked in the previous weeks and not get caught up on the idea that one thing, this thing we believed could be the deletion of the sheets, as the feedback suggested it wasn’t strong enough unless it was being used as a medium. I decided to try a different approach, this time a literal approach to try and decipher the actual motivations or the story behind the work. The feedback would send us back thinking about the subjective view of the space, and that we needed to inform the responder more than just setting out the space and asking the responder to come up with their own meaning.

I grabbed a pen, some paper and some objects and started jamming in a diorama setting. I had this idea that we could literally play two projectors across the space at one another: one with an exploration on the treatment of refugees and one with an exploration of what can happen when refugees assimilate.  The treatment video would be attached to the ceiling, whilst the assimilation video would be playing from down below and when the audience entered the space, they would interrupt the video, blocking it.  Whilst this video wouldn’t be visible, the treatment video or ‘the past’ would continue to play as we cannot change the past.  The idea is that both the pastime of war and the current status of those affected can’t be re-written in history (incorporates the letters) but have to be acknowledged moving forward. The content then doesn’t have to be original it would be a remix of all the different implications of conflict on all nations and cultures.

Another element suggested to us was to split into groups within our formed group and come together with works that interacted with one-another. We took our own approach on this with this new creation, and basically assigned members a good, bad and audio role, whereby no one could see the works or hear the overlaying audio and we’d basically jam it all together when everyone was done. This meant the content wouldn’t have a structure nor would the audio match the visual. We didn’t know how this would pan out but we needed to take a risk this week.

My part i played around with the audio of various film trailers, songs and speeches that all had connotations towards loss, loneliness and war effects and mashed it all together. This was to accompany the montage of visuals by the other groups, however I had no idea what their creations would look like. The plan was then to stage it all in the space and see if it worked.

The feedback we received was that potentially the videos could also include information about the family that lived there and that there should be longer pauses between the clips, so the televisions were flicking on and off.  We agreed with this and would like to build on it next week.


Project Proposal: RandomAccessMemory

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Project Proposal:

The space that will be transformed into an existential dimension will consist of a door that doesn’t have a prerequisite for entry or denial.  Each person will approach a door that has the words:







These are guidance points for the audience responder, the next move from the audience interaction is my way of exploring the wonderment aesthetic. The use of a movement sensor will operate the lights underneath each word, which will be completely randomised and have no influence on the person and could be different on multiple interactions with the same people. I want to explore the idea of class and how the choices and decisions controlled by the digital realm has no ‘cost of entry’.Perhaps a strange take on the actions of the internet promoting anonymity, and how the rear of the door that is  covered in black spray paint and wax could represent another dimension of the internet.

After attending New Romance: art and the posthuman at the Museum of Contemporary Art I found Patricia Piccinini & Peter Hennessey’s work Alone with the gods, 2016 very interesting in the way that it could transform everyday household furniture and items into some kind of surrealist or uncanny space. I drew particular attention to their subtle use of wax and crystals in the way they could allude to a new experience. I took this creative element along with a childhood experience that I associated with wonderment was the arrangement of magnetic letters on a fridge. This idea fascinated me as a kid as if I had something within the food storage that couldn’t be opened if i arranged the words “No”.


(Patricia Piccinini & Peter Hennessey, Alone with the gods, 2016, installation view, New Romance: art and the posthuman, Museum of Contemporary Art Australia, mixed media, image courtesy and © the artist, photograph: Alex Davies)

“explore ideas of secret societies, parallel worlds, genetic modification, evolution and mutation in their new collaborative workAlone with the gods (2016). Designed to be an ‘immersive narrative space’ the installation is based on a story the artists wrote about a fictional isolationist cult.” (MCA, 2016)

The idea and the organisation of the work will have a door frame connected to a pair of ropes that gives the idea of hanging in space. The front side will have an LED lighting arrangement (currently using Christmas lights) that will be hooked up to an arduino movement sensor so that when the audience member gets close enough, the sensor will trigger a random word to light up via the coloured lights. The word that is given to that person will hopefully trigger a curiosity element or perhaps even a rebellious streak for them to look around the behind of the door. This will hopefully lead them to discover the free-lance nature the internet creates and that we’re free to understand the world behind instructions. I like the idea that i’ll have no control over the responses nor whether the “instructions” on the front of the door will be obeyed by the responders.

From the above prototype, the changes in the lights arrangement and the times they come on will be varied slightly different when the movement sensor is added. This is to showcase the aesthetic I’m aiming when they change individually. Through class discussion and feedback when presenting the prototype I was told that the general colour arrangement was an aesthetic in itself. I was also encouraged to explore a lighting set up that would make the words easier to read. A suggestion that was also an interesting interpretation was the choice to leave the lights all on and turn off the desired response as an instruction. The next step with this project is to acquire technical support so that I can understand how the lights can be wired and arranged to the intentional purposes. The location was something that was given a warm reception to have it slightly in the middle of the space so that it wasn’t really essential to see the worded side of the door first, perhaps showcasing the accidental nature of wonderment. Perhaps the most interesting suggestion is the use of a mirror at the rear of the door to represent perhaps a parallel view. The idea that if you go against the authoritative instruction you’ve only got yourself or your own reflection to ponder on.





What To Do: MEDA102

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My brain has been in a state of panic and loop since learning of the freedom with the final project. From the start, something that involves repetition or iteration needs to be ‘aesthetic’ and entertaining otherwise the viewer looses interest quickly. I liked to play with the idea of 3D Printing something, where layer upon layer in space is utilised in this concept of the same process over and over. I’ve utilised this technology throughly last semster and have obtained a substantial amount of knowledge on using it and talking about it. It’s something i want to involve myself in with future projects and believe it can work it’s way into an aesthetic world of digital media. I had the idea of Live streaming this process from the 3D printer at main campus via a webcam to a projector at iC (innovation campus) which also covers a series of wavelength iterations to project a live happening through a signal onto the wall. The problems i’m foreseeing is what to print? perhaps the object result doesn’t matter, more the process is the aesthetic, or perhaps pre-recording the job and fast playing it almost as it arises into life.

Something I would look into is the idea of  animation, and traditionally it being the layering of frames in time sequence to create movement and ideally life to objects. Yet take 3D Printing, it’s a layering process as well, yet it’s done in the space to create a physical form. The great challenge is to represent feelings, emotion and/or life to a material object, and 3D prints i believe give a concept physical form and is brought to life over a series of layered slices.


I researched into art works that have been created using 3D Printing for some inspiration and took screenshots to showcase them:


This scaled version of a place in the world is a showcase of the re-mediation and transformation of a physical artefact allows a detailed account of the landmark for those who haven’t been. touching on the guest lecturer Ted Mitew, when he talked about the traditional armour and artefacts being recreated, this takes huge attractions and see’s the arrival of them to scaled models able to be held.

This is the process in Flashforge, a software tool used to slice the model into segments and showcase what it will look like inside the platform of the printer.


Some examples of the recording of 3D Printing i’ve found elsewhere:

Another direction I headed was further development on my expertise with drones. On the MEDADADA website I came across something that was really amazing and something I was curious in how to go about recreating something to its effect. It was the following video:

So i started researching some art works that could perhaps incorporate drone usage for repetition and iteration, and i started finding works that were graffiti based using the quadcopter to perform the painting. 

More research found the idea of a drone ‘Selfie’… whereby the drone takes a photo of itself in a mirror or reflection and showcased it in the way the common trend of social media personnel. This was an interesting foundation to explore within the final project as it extended into a new era of photography and life quality we give to the UAV. As i have the same drone, this would be an achievable investigation.

Overall, for this project I want to investigate something with an emerging new media platform and turn it into an artistic piece of installation, so that the appeal for the devices is more widespread throughout the media arts community.

Computer Coding Exercises: MEDA102

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The simplicity in the work for me stands out as the aesthetic, and the opportunity for reproduction or development. The concept I was looking to convey in this code is the colour scheme of one rectangle following another to introduce iteration. The fill colour would align in some way to the next or previous stroke and continue into the next drawing function. The overlapping was also meant to challenge iteration as something that’s the same thing in the same spot, no cursor movement is the same and each key serves a different colour in a different grid point. As I related back to advice given to me in class when manipulating code in “stick to lines”, this made sense to me in terms of choosing an inspiration from “Dsaa La Martinière Diderot” on ( as the ellipse scheme was used throughout the introductory period of coding and as a dynamic in my work. I enjoyed the task of trial and error in my research engagement to the art, rather than a conceptual ‘original’ creation. Thus, random plotting to a known result of colours and shapes and observing the outcome until a certain aesthetic grabbed my attention, evidenced in the transparent view of key ‘s’. allowed annotations to be made as well as this method,

Dsaa La Martinière Diderot 2015, ellipses_colors, Open Processing, viewed 21st September 2015, <;

Progressive states of the code

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Screen Shot 2015-09-22 at 4.19.15 PM


//Comments are used for making notes to help people better understand programs. A comment begins with two forward slashes “//”
float posX=250;//The float is used to describe, similar to an integer, a numerical value, however with a fractional value(decimal)
float posY=250;//position
float vitesseX;//axis
float vitesseY;

//each function is a specifc piece of instructions that are called upon whenever the name is required
void setup() { // the brackets show where the data is passed into the function
size(900,800);//this determines the size of the canvas or display window that the program runs the code inputted
background(255); //the colour in which the display window behind the art will be
smooth(); //allows the geometry (in my case circles) to have smoothed edges
loop(); //function that causes draw() to excute continuously, in my case the ellipse being a dynamic sketch (moving)
//the semicolon is used to end statements or lines of code
void draw() { //runs continuously until program is stopped
rect(mouseX,mouseY,200,200); //the ellipse with continue to appear as the mouse is moved around the X and Y axis.
//the 200 number reprents the size (dimensions) so if the user wanted a slightly oval shape, the values would be different
} //rectangle is the geonometric shape created within the code

void keyPressed() //key represents the keys on the keyboard for this to work
if (key == ‘s’) //the ‘s’ on the keyboard changes the colour of the ellipse, in this case to aqua
fill(13,255,209); //colour inside the shape
stroke(586,88,54,250); } //the outline colour
//used these two as base colours that explores the use of iteration
if (key == ‘a’) //the ‘a’ on the keyboard changes the colour of the ellipse, in this case to pink
fill(586,88,54,250); //fill resembles stroke from ‘s’
stroke(13,255,209); } //stroke resembles fill from key ‘s’
if (key == ‘m’) //the ‘m’ on the keyboard changes the colour of the ellipse, in this case to yellow
stroke(13,255,209); }// stroke resembles fill from key ‘s’

Wall Drawing: 10,000 lines

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Firstly, an algorithm is a process or set of rules to be followed in calculations or other problem solving operations especially by a computer. Sol LeWitt’s Wall Drawing 86 was our title for the drawing in the gallery space with instructions of “Ten thousand lines about 10 inches (25 cm) long, covering the wall evenly”

A comparison of ours to the original work

11910949_10207470788067427_1612467020_n    Our rendition

walldrawing86What the work originally looked like

We took a slightly different approach to complete this task by creating our own tool to do 6 lines at a time. We found two timber pieces of wood and measured 25cm along and used duck tape to stick them to it. This was then manned by two people and stroked across the wall being measured with a metal ruler. This technique was so much more effective then doing it individually, yet still keeping fairly straight and consistent.


To complete this effectively, plan your time around making the utensils for drawing. Once the tools are made the exercise isn’t too time consuming because you’re drawing 6 lines per hit. Before long the lines accumulate and the aesthetic is obvious. Complacency can be a factor as well as wanting to go to fast, again just plan around this and keep at it, as the end result is actually really interesting.

For such a massive amount of lines to be completed in such a short amount of time, was probably the most difficult part of the task. Originally it seemed impossible, yet we reached approximately 3 thousand lines by the time we’d finished about 1hr of drawing.

Still Image Project (Capture The Uncanny)

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“Uncanny” work denotes a sense of fear or unsettled emotion, a strange feeling that something’s not quite right with the image, even though nothing in particular is necessarily wrong with the objects. For this particular work, I addressed the notion of uncanniness with inappropriate dress codes for certain situations and explored Freud’s explanation of the Uncanny with subtle reference to Death. I worked with strong symbolism of “red” to generate this state of panic, madness and death, in conjunction with small working spaces for a response of confinement and claustrophobia. I found by looking at artist’s work of uncanny, the objects and setting used made me feel greater discomfort, thus provoking levels of uncomfort towards everyday things such as a shower, lemonade and shoes with the materials and manipulation of setting. Lighting arrangement in the studio setting allowed for interesting exposure of uncanny value towards the red water’s reflection over a page. As well as this, small amounts of exposure time captured in detail the water dropping from the shower head, which I found to be quite aesthetic, in the midst of gruesome subjects. Interesting use of contrast and brightness picked up a strange uncanniness to the subjects, when given attention.

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